New Practice Based Methodologies for Naturalistic Contemporary Drama Translation. Szilvia Naray-Davey. School of Arts and Media

Transcription

1 New Practice Based Methodologies for Naturalistic Contemporary Drama Translation Szilvia Naray-Davey School of Arts and Media University of Salford, UK This portfolio of work is submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy, May

2 Contents Acknowledgments Abstract Part One: The Translations Prah by György Spiró (translated by Szilvia Naray-Davey) Prime Location by György Spiró (translated by Szilvia Naray-Davey) Sunday Lunch by Jànos Hày (translated by Szilvia Naray-Davey) Part Two: Critical Reflection / Thesis Chapter Introduction 1.2 Methodologies and Research Questions Chapter 2: Context 2.1: Personal Context 2.2: What is Translation? 2.2: Politics in Translation 2.3: Hungarian Contemporary Drama Translation post : A Brief Overview of Translation Studies Scholarship 2.5: Translated Contemporary Plays in the UK 2.6 Hungarian Contemporary Drama: A Rationale for Translating Spiró and Hày Chapter 3: Methodologies 3.1: Methodology of Translating at the Desk: Translating Sunday Lunch and Naturalistic drama translation through the actors naturalistic tool 3.2: Being True to the Life in the Text 3.3: Performability 3.4: Voices in Drama Translation Scholarship 3.5: Performability as Enabling Mechanism 3.6: The Practice of Translating Away from the Desk 2

3 3.7: Filling the Practice-Based Methodology Gap 3.8: Performance Case Study 1 3.9: Bilingual Staging Drama Translation Laboratory Methodology and Rational 3.10: Source Text Stage vs Target Text Stage Chapter 4: Findings 4.1: Finding from Performance Case Study 1 4.2: Double Realia 4.3: Findings from the Hungarian Actors Performance 4.4: Keeping it Foreign: The Case of The Kid 4.5: Farce or Kitchen Sink Realism? The Emergence of a New Genre in the Target Text Chapter : Performance Case Study 2: The Professional Production and Mise-en-Scène of Prah 5.2: Translator and Director's Notes 5.3: Mise-en-Scène as Translation 5.4: Findings 5.5: A Non-Linguistic Solution 5.6: Music as a Translating Strategy 5.7: Register and Class Issue 5.8: The Target Culture s Actor Interpretive Skills as a Translation Aid: Casting as Skopos 5.9: Societal Realia: The Case of PCCC 5.10: The Set as a Translator Chapter 6: Performance case study 3 6.1: The Source Culture s Production of Prah under Microscope 6.2: Excavation of the Source Culture 6.3: Findings from the Source Production 6.4 The Author s Wink: Cultural allusions Revealed by the Source Production 3

4 Chapter : Prime Location translation as synthesis of methods 1 and 2, away from the desk and at the desk 7.2 Translation Challenges 7.3: The Source Production of Prime Location 7.4: Character as Realia 7.5: The Source Language Actor s Performance as an Aid to Translation 7.6: The case of kezicsókolom and csókolom: Working with compensation and addition 7.7: Direct Translation Benefits from Source Production and the Use of Objective 7.8: Class Belonging and Humour Dynamics Revealed 7.9: Double Realia as Humour Chapter 8: Concluding Thoughts References Appendix 1: Arts Council Report of production of Prah Appendix 2: Poster of Prah Appendix 3: Programme brochure of Prah Appendix 4: Poster of Sunday Lunch Drama Translation Laboratory 4

5 Acknowledgments I wish to express my sincere gratitude to the School of Arts and Media, University of Salford for having funded this PhD study during my lectureship. A very big thank you to Ignition Stages magnificent co-producer Joanne Walker, without whom I could not have directed and toured Prah. I am also indebted to Prah s set designer Ian Scullion and dramaturg Enikö Leànyvàri whose artistic talent and integrity greatly contributed to the successful authentic recreation of Prah s Hungarian world. I would like also to thank György Spiró and Jànos Hày for having trusted me with translating their plays. I am greatly indebted to my supervisor Professor Alan Williams, who has been an inspiration and a great teacher to me and whose vast knowledge of Hungarian language and culture will never cease to amaze me. I also would like to thank my Hungarian poetry co-translator and co-supervisor Dr. Judy Kendall whose wisdom and encouragement was much appreciated. I also would like to thank my cast members, Zach Lee, Anne-Marie Draycott, Tim Lambert, Maggie Fox, Malcolm Raeburn and my director colleague Frances Piper who has been a stage-directing mentor to me. I am also very grateful to Dr. Ursula Hurley and Dr. Helen Pleasance for their friendship and support. Many thanks to my children Leo and Melody who may have had to learn selfreliance prematurely during my intensive periods of research, and to my husband Laurence Davey for putting up with mood swings. Finally, I dedicate this work to my mother Marianna Naray and to my late father Dr. Peter Naray. Thank you for giving me the other s languages and cultures. I hereby declare that section 3.1 of this thesis has been published by The Mercurian Vol 4 under the title True to the Life in the Text. 5

6 Abstract This practice as research inter-disciplinary PhD s purpose is to create new knowledge in the area of contemporary and naturalistic drama translation. It straddles the fields of Drama, Acting and Translation Studies but inevitably encompasses the fields of social semiotics and linguistics. The methodology used is of a hybrid nature as it consists of a portfolio of work. The work is divided into two major sections. The first comprises the translation of three Hungarian Contemporary plays into English by the author, followed by the thesis and selfreflection. The thesis will claim that it is by the precise use of the proposed mixed methodology and practical approach to drama translation that new knowledge will be contributed to the field of contemporary European naturalistic drama translation. The use of this methodology is novel in the sense that it claims that the act of translating itself is creating new knowledge. This builds on Nelson s practice as research model is in which the act of translation is the practice. New knowledge will also be generated by the practice, which is the mise-en-scène of two translated plays as well as the analysis of the Hungarian stage source productions. The use of this hybrid methodology results in the creation of new concepts in the field of foreignising drama translation. The thesis part of the portfolio claims that these new concepts will also serve as tools that will aid the work of scholars and drama translators who chose foreignisation and resistance as their translation strategies. These methodologies will challenge prevailing views in Translation Studies of the primacy of the text in translation. It will challenge Susan Bassnett s view that it is a superhuman task and not the translator s role to decode sub-textual meaning in the dialogue. The aim of this methodology is to offer new working concepts for the foreignising contemporary drama translator. This thesis and reflective work will claim and defend the view that in order to achieve a foreignised (Venuti 1998, 2008, 2010) drama translation strategy that adheres to the much debated performability criteria, the drama translator needs to become a cultural anthropologist and perform an excavation of the source culture by using the source production as a tool for translation, especially in translating realia. It will also argue that the drama translator needs to expand and go beyond the traditional translation tools and borrow the naturalistic tools of the actor in order to help with translation challenges. The performance case studies will focus on Hungarian contemporary drama but although this new knowledge contribution is transferable to all contemporary naturalistic drama translation, it will be of a particular benefit to the field of contemporary Eastern European drama translation. 6